World War I virtually severed artistic relations between America and Europe. Cultural interchange and patronage was interrupted by problems of social and political urgency, though most artists tended to be antiwar. Visual propaganda was left to the commercial designers and illustrators, while American painters continued in their efforts to consolidate the issues detonated by the Armory show.
Dominant tendency in American painting after World War I towards cubism and abstraction was called "Precisionism". The artists of this group had been influenced by cubism, which they saw in the work of Marcel Duchamp, a French Dada painter who appeared in New York City after 1915. Unlike European Cubism, where
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As American business grew, the need for urban office space expanded. In most cities, architects could create office space only by building upward. Typical office towers had self-supporting outer stone or brick walls, with the interior structure formed by a skeleton of iron columns and wrought iron beams. James Bogardus was a nineteenth-century American inventor, machinist, architect, engineer, manufacturer, and builder. His inventions included the eccentric mill, the self-supporting cast iron façade, and most importantly, the skeletal steel-framework of our urban environment. With the construction of The First Cast Iron House Erected in 1850 he had created the first all-iron building ever.
In photography during the 19th century there were many revelations as well that happened in America, such as the flexible film invented by George Easton. However one of the prime movers to premiere photography as an art form was Alfred Stieglitz. Through his own pictures, he showed expression and evoked feeling in viewers. In Fifth Avenue style was created by weather, mood, and atmosphere which all created significant textures. He was also the first to ever have a gallery: Gallery 291. Here he